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Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

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Views from the Choir Loft

More on the subject of “Mutual Enrichment”

Jeff Ostrowski · June 23, 2020

NSANITY has been described as: “doing the same thing over and over, but expecting different results.” Not long ago, I posted an article which asked: Can Ordinary Form Masses be enriched by the Extraordinary Form? Unfortunately, some readers interpreted my actions as an attempt to ridicule, assault, and embarrass fellow Catholics. I would like another attempt—perhaps I can be coherent and clear.

This video recently showed up in my inbox:


That’s a public video from the Sunday Mass on 21 June 2020 at Sacred Heart Catholic Church in Omaha, Nebraska. 1

I have something to say about their treatment of the Sanctissimum in order to help me make the point I’m trying to make. I hope you’ll keep reading.

The Subject of Mutual Enrichment

A letter of Pope Benedict XVI to bishops, given at Saint Peter’s (7 July 2007), said:

“The two Forms of the usage of the Roman Rite can be mutually enriching: new Saints and some of the new Prefaces can and should be inserted in the old Missal. The ECCLESIA DEI COMMISSION, in contact with various bodies devoted to the usus antiquior, will study the practical possibilities in this regard. The celebration of the Mass according to the Missal of Paul VI will be able to demonstrate, more powerfully than has been the case hitherto, the sacrality which attracts many people to the former usage. The most sure guarantee that the Missal of Paul VI can unite parish communities and be loved by them consists in its being celebrated with great reverence in harmony with the liturgical directives. This will bring out the spiritual richness and the theological depth of this Missal.”

I believe the primary way the Ordinary Form can be “enriched” by the Extraordinary Form would be adopting its ars celebrandi. As children, my mother brought us the the Latin Mass, and we hated it. We found it insufferably boring at first, and—I admit with shame—we even poked fun at how the priest kept saying the word “Dóminus.” But one thing stood out, even at that early stage:

The priest always kept his head down. This made quite an impression on me. He was extremely reverent, and even his hand motions were prescribed by the rubrics. This was a beautiful and powerful ceremony. By contrast, did you see the way those people were acting in front of the Blessed Sacrament? They were having some sort of goofy sword fight (I don’t know why). I’ve attended many Masses in these United States where the atmosphere was similar: goofy, silly, and disrespectful towards the Blessed Sacrament of the Sacred Body and Most Precious Blood of Jesus Christ, which is the “Testament of God with Man” as Saint Noël Chabanel reminded us. Saint John Mary Vianney was so moved—whenever he was in the presence of the Sanctissimum—that “he could scarcely speak or breathe.” Let’s imitate Father Vianney and Father Chabanel.

I submit to you, dear reader, that the Ordinary Form must adopt as quickly as possible this AURA—“atmosphere” or “mood” or “tone” or “vibe” or whatever you want to call it—from the Extraordinary Form. By the way, a key ingredient of this atmosphere is the music. The music “should not sound like a toothpaste commercial” (as one thoughtful theologian noted).

 


NOTES FROM THIS ARTICLE:

1   The Archdiocese of Omaha currently has a bishop whose name is exactly the same as the creator of Star Wars: Archbishop George Lucas.

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

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Filed Under: Articles Tagged With: Mutual Enrichment Last Updated: June 23, 2020

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About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

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President’s Corner

    Good Friday Flowers
    Good Friday has a series of prayers for various parties: the pope, catechumens, pagans, heretics, schismatics, and so forth. In the old liturgical books, there was no official ‘name’ for these prayers. (This wasn’t unusual as ‘headers’ and ‘titles’ for each section is a rather modern idea.) The Missal simply instructed the priest to go to the Epistle side and begin. In the SHERBORNE MISSAL, each prayer begins with a different—utterly spectacular—flower. This PDF file shows the first few prayers. Has anyone counted the ‘initial’ drop-cap flowers in the SHERBORNE MISSAL? Surely there are more than 1,000.
    —Jeff Ostrowski
    Music List • (3rd Sunday of Lent)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for this coming Sunday, which is the 3rd Sunday of Lent (8 March 2026). If such a thing interests you, feel free to download it as a PDF file. This feast has magnificent propers. Its stern INTROIT (“Óculi mei semper ad Dóminum”) is breathtaking, and the COMMUNION (“Qui bíberit aquam”) with its fauxbourdon verses is wonderful. I encourage all the readers to visit the feasts website, where the Propria Missae may be downloaded completely free of charge.
    —Jeff Ostrowski
    PDF Download • “Ubi Caritas” (SATB)
    I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.
    —Jeff Ostrowski

Quick Thoughts

    “Dies Irae” • A Monstrous Translation
    It isn’t easy to determine what Alice King MacGilton hoped to accomplish with her very popular book—A Study of Latin Hymns (1918)—which continued to be reprinted in new editions for at least 34 years. This PDF file shows her attempt to translate the DIES IRAE “in the fewest words possible.” There’s a place for dynamic equivalency, but this is repugnant. In particular, look what she does to “Quærens me sedísti lassus.”
    —Jeff Ostrowski
    PDF Download • “Holy, Holy, Holy”
    For vigil Masses on Saturday (a.k.a. “anticipated” Masses) we use this simpler setting of the “Holy, Holy, Holy” by Monsignor Jules Vyverman (d. 1989), a Belgian priest, organist, composer, and music educator who ultimately succeeded another ‘Jules’ (CANON JULES VAN NUFFEL) as director of the Lemmensinstituut in Belgium. Although I could be wrong, my understanding is that the LEMMENSINSTITUUT eventually merged with “Catholic University of Leuven” (originally founded in 1425). That’s the university Fulton J. Sheen attended.
    —Jeff Ostrowski
    Grotesque Pairing • “Passion Chorale”
    One of our rarest releases was undoubtably this PDF scan of the complete Pope Pius XII Hymnal (1959) by Father Joseph Roff, a student of Healey Willan. One of the scarcest titles in existence, this book was provided to us by Mr. Peter Meggison. Back in 2018, we scanned each page and uploaded it to our website, making it freely available to everyone. Readers are probably sick of hearing me say this, but just because we upload something that doesn’t necessarily mean it’s wonderful or worthy of imitation. We upload many publications precisely because they are ‘grotesque’, interesting, or revealing. Whereas the Brébeuf Catholic Hymnal had an editorial board that was careful and sensitive vis-à-vis pairing texts with tunes, the Pope Pius XII Hymnal (1959) seems to have been rather reckless in this regard. Please take a look at what they did with the PASSION CHORALE and see whether you agree.
    —Jeff Ostrowski

Random Quote

Last Fall, however, the bishop of Augsburg in West Germany, the Most Rev. Josef Stimpfle, ordered all parishes in his diocese to have a Latin High Mass at least once a month. This policy drew a letter of warm commendation from the apostolic nuncio to West Germany, Archbishop Guido del Mestri, who termed the decree “exemplary” and added, “The way chosen by you is one desired by the whole Church.”

— Latin Liturgy Association “Newsletter” (September 1980)

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